Yesterday was the 18th annual Trans Day of Remembrance. Today, Sabine Heinlein considers the state of trans artists working now—namely, there’s unprecedented acceptance and demand for trans visibility in the arts, even as American politics swing radically to the Right. [The Guardian]

Long, weird read: Kenny Schachter on the surreal state of Manhattan’s art market, where dealers/collectors’ inscrutable dances and financial mechanisms are set against a backdrop of political uncertainty and constant protests in the street. [artnet News]

Erick Antonio Benitez: Esta Tierra es Tu Tierra just closed at Current Gallery in Baltimore. It was a really great show about the Mexico/US border. If I had seen it before the closing reception, I totally would’ve reviewed it. Thankfully, BmoreArt beat us to it. [BmoreArt]

New editions of William Gibson’s most iconic literary works will feature cover art by British digital artist Daniel Brown. Brown used fractal mathematics to abstract architectural photography into an Escher-esque dystopia. I’m not sure I like these. The material’s very dear to my heart, but the execution just feels underwhelming. [Dezeen]

Extrapolating from the popular phrase “arts ecosystem,” Taryn Wiens argues that we should care more about protecting the art world’s “biodiversity.” Namely, there isn’t an existent art space that functions quite like Seattle’s recently-defunct, one-room residency/gallery Suyama, and that makes its closure an important loss. [Temporary Arts Review]

The strange, strange story of how a pension-fund-backed luxury condominium tower’s glare upon an art museum led the city of Dallas to the brink of bankruptcy. [The New York Times]